Sunday, December 30, 2012

Just let me clear this up… Not all films on here are films that where released in 2012, but this was the year that I saw them, or they
had their big breakthrough, hence their presence on the list. I’m presenting
them in alphabetical order up to the top five, then we start the count down.

Films that I’ve written on previously are best read though
the links in the titles. This is merely quickly scrawled motivations from the
titles I’ve jotted down in the sides of my film note books.

I’m still very much in love with Alyce. This is a really
emotional film that may be one of the best uses of the Alice in Wonderland
mythos. There’s something about a movie when it’s cast perfectly, and you get
that feeling that it would never have worked with another actor or actress in
their place. I totally fell in love with Jade Dornfield as Alyce and learned a
valuable lesson with this film – again. Ignore what came before, and look at
work independently. I’d probably never given Alyce a shot if I’d known that Jay
Lee previously made Strippers vs. Zombies. But Ignorant to that fact I was
blown away by an amazing film, brilliant performances and excellent
storytelling. [Full review Here]

Brandon Cronenberg doing what his father once mastered –
Body Horror. Set in the future where designer diseases are the latest fad, Syd
March [Caleb Landry Jones] get’s caught up in a classic “Cronenbergian” world
of paranoia, despair and Kafkaesque nightmare. Putting his life on the line to
setetle his curiositu into what really killed superstar Hannah Geist – who’s
diseases are the most popular – Anitviral is a cool movie, very much in the vein of the early seventies Cronenberg Snr., and I’ll definitely be keeping
an eye on Brandon Cronenberg.

I first discovered François Gaillard’s splendid independent Giallo
homages Blackaria and Last Caress this year. (And seen them several times since then, and on the big screen too) Both films are stylish, violent
and beautifully shot films with so many nod’s to the good stuff that it’s a wet
dream of references. A definitive testament to how independent filmmaking,
vision, pumping soundtracks and a passion for making movies all come together
in one erotic and blood drenched climax. Gaillard is an energetic and great guy and I got
to interview him at the Weekend of Horror’s in Bottrop, Germany, where we spent
much time talking about our shared passion for Fulci’s Lizard in a Woman’s Skin
and Anita Strindberg. I can’t wait to see where Gaillard’s career
takes him and what he will come up with in his next film. Undoubtedly he’s a
guy to keep an eye open for, because I’m dead certain that suddenly there will
be a bang, and he’ll be the next big thing out of France. [Full review Here]

Doing well on the festival circuit, Chris Alexander’s Blood
For Irina is a wonderful little film which gently rolls forth in its
narrative, slowly building to insight and climax. Interesting, mesmerizing, meditative and honestly impressive
considering that it was shot on a shoestring budget in just a handful of days.
A feverish love letter to the works of Jean Rollin, Jess Franco and EuroGoth –
need I say more? Blood for Irina makes it on the list as it’s a very well
crafted movie, ambitious and a testament to how far passion can take a low
budget production. I can’t wait to see it in a proper release with audio mix
and color correction because I feel this one could be destined to become a cult
favorite. [Full review Here]

I got to see this at an advance screening and didn’t really
know much about it apart from the fact that it was supposed to be “one of the
best horror films in a long time… “ OK, Cabin in Woods, horror? It doesn’t take
a genius to have an idea of what film this one was trying to rip off. But when
the flick starts and establishes that it isn’t your average horror flick, but a
one that will fuck around with genre and actually make fans of the genre have a
good laugh – it fucking rips! Cabin in the Woods was a guilty pleasure and a
whole lot of fun. (Although I still stand by my argument that the movie would
have been so much better if the “Elders” had been tentacle Lovecraftian things
instead of a giant hand. [Full review Here]

Documentaries are the shit. Not only do they tell
fascinating stories, they teach you stuff. Even though George Méliès is the
backbone of the horror and fantasy genre, and despite thinking that I knew his
story I knew jack. Serge Bromberg and Eric Lange'sThe Extraordinary Voyage is a fascinating tale that tells Méliès story and shows how being
obsessed with things can give great rewards. A heartbreaking and heartwarming
documentary about the original innovator of genre cinema that you all should
take the time to watch!

Canadian enfant terrible Ryan Nicholson, yeah I’m giving him
the Enfant Terrible crown that Cronenberg lost somewhere after Existence,is true to his genre, and he’s passionate
about it. The quirk I really like in his stuff, is that he’s successfully
blending dark comedy and violent horror in a great mix. At the same time he
dares to push the envelope and one can almost hear him snigger as things get
wilder and wilder for each film. Famine takes the generic slasher formula and sticks it inside a locked down high school where a predator is stalking the corridors checking off the pupils one by one. Gore, hot chicks, seedy guys and a great twist which makes the ending open up a whole bag of alternative possibilities. Nicholson is a
force to rely on and I love waiting for his next movie to arrive as one never
can predict where he will take us, or what depravity he will think up next!
[Full review Here]

I hated the first one. It felt as I was being ripped off, as
it was nowhere near as provocative or disturbing as the hype made it out to be.
But, just as I feel that Eli Roth went into Hostel II making made amends for
the things that where wring with Hostel, I feel that Tom Six went back into
Centipede and twisted the knobs up to eleven with Human Centipede II (Full Sequence). It’s
grimmer, viler, more sinister and definitely darker than the original. Not to
mention the great performance that Laurence R. Harvey gives as Martin the
obsessive fan that goes about creating his own amateur centipede in the most
fiendish way. A pleasant surprise and
definitely all that the first one was made out to be. [Full review Here]

Albeit not really being anything new in its self, Alexandre CourtèsThe
Incident came as a complete surprise. A bunch of friends who work in an asylum
are trapped there as the power goes out, and the movie becomes all about
staying alive and getting out of there. A story it tells in a great intense
way. I watched it thinking that it was going to be a completely different film
and was drawn into a dark gloomy nightmare instead. The Incident is a
delightfully moody little flick, high on tension and full of atmosphere, that for some reason hit me
in all the right ways, not to mention Baxter’s flawless editing. [Full review Here]

Andrey Iskanov is quite possibly one of the greatest guys
I’ve had the privilege of talking to during 2012. He’s working out of some
terribly tough conditions, making films that his government would rather never
reach the light of day and staying true to his own visions. Andrey Iskanov's Ingression is the
booked finale to the HalluCinoGeNnN trilogy and is by far the best part of the
series. A study of one mans journey into hell and despair, with some really
haunting moments and a fantastic tentacle monster too. This past year Iskanov
has been through some immense reshoots and resulted large parts of the film
since it played festivals a few years back, and it looks amazing. I cant wait
until this film is unleashed on audiences and Iskanov can let us see this
latest nightmare vision.[Full review Here]

I have to put Iron Sky on here. Yes, I really enjoyed it and
it was a blast – sometimes, big dumb movies are only big dumb movies and they
are only there to entertain us. Sure, it looses some of its umpf in the middle,
but picks t back up at the finale. One can’t underestimate the dedication Timo
Vuorensola and crew have put into this film. From the early promos to having
the huge success that it had, it’s almost a independent fairy tale come true. I
was one of the first to write about the film here in Sweden and for that I
ended up becoming something of a poster boy for the sales material when my
quote ended up first on small, small ads and sticking in there all the way up
through theatrical art where my quote finally ended up being printed larger
than the movie title itself. So naturally Iron Sky will always be a highpoint
of my career as an online movie critic! (And leave a bitter after taste as
every bigger distributor then ignored the fuck out of me after they exploited
my tagline, which probably did more for this movie than anything else over
here! I’ve not been to a pre-screening since…)

This is a really cute film with some effective shocks and smart metaphorical monsters. Bradley Rust Grey's Jack and Diane is a coming of age movie, but told through the eyes of two young women who discover love, pain, happiness, hurt as they explore their sexual preferences. It's frail at times, rough at times but at the core the crown jewel of Storytelling is a vibrating tool : Guilt! It does go on for just a short while to long but it draws its audience in and delicately keeps them on edge. The two leading ladies, Juno Temple (Daughter of legendary Julien Temple) and Riley Keough really hit it out of the ballpark, and there's an interesting cameo by Kylie Minogue. This is another one of those movies that I saw and didn't really know where to place it, but it stuck with me and God knows that genre, with all it's stereotypes, really needs more gay themed films.

I love how UK horror solidly uses its inheritance
of social realism to tell disturbing genre stories. Ben Wheatley's Kill List does this, and from this setting tells it's haunting tale. Creepy, slow build, a study
of the deterioration of a hit man who get’s snared up in a mission against – or
is it for – an ominous cult who push his buttons, pull his strings and lead him
right into a devastating climax. Fascinating stuff! [Full review Here]

Two men who personify dedication, enthusiasm and passion for
making films are Lars and Marc Rohnstock! Their fantastic splatter flick, Necronos : Tower of Doom - a two hour plus gore fest, filled to the brim with everything
that makes German Gore such a blast - is a great film. It is fun, it's gory, it's amazing, and it proves that you really should have fun when making and watching films, even if they are gory epics. 2012 saw two
releases of their film, one by Swedish distributor Dark Entertainment and the
other by the legendary Troma! I cant wait for them to complete their next film
“The Curse of Dr. Wolfenstein”, as the promo and few shots I’ve seen so far,
look amazing. [Full review Here]

The first of two movies that didn't make the first cut and shouldn't be on here, but make
it on due to a last minute change of heart. Aja and Khalfoun remake of Maniac didn’t really make
much change to the original Lustig/Spinel classic, but there’s something in
there that I keep going back to in my head. Elijah Wood gives a grand performance and the
more I think about it, the more I liked the subjective camera approach. If
nothing else, it made me re-watch the original, and that’s what I hope this
remake will do too. BUT the main reason I stick it on here is because I really
like the fact that we have European genre directors making films in America and
bringing European crews and filmmakers with them on the trip. It’s much the
same as Guillermo Del Toro has been doing with Spanish and Mexican filmmakers,
and that’s a noble thing indeed! [Full review Here]

I really enjoyed Sinister, which possibly was one of the
creepiest films of the year. Ethan Hawke and Juliet Rylance bring so much
credibility to the characters and the way the investigation plot works as the
family is slowly torn apart was grand. I could totally see this being my family
and I in the way I get caught up in projects, work and grand illusions of
things to come. Without the violent death and demons that is. Suspenseful, honest
and freaky, Sinister left a delightful impression. Ok so it’s looses it with
the generic ending, but then again, this is horror and it’s supposed to go
unexpected places, even if the unexpected is a familiar setting.

The second film that really shouldn’t be on here, as I found
it to be a disappointment the first time I watched it. Obviously it’s going to
be hard to match Martyrs, and I think that I was expecting that Pascal Laugier'sThe Tall Man would be something in the same vain. I have some issues with Jessica Biel, I find her to be a
pretty bad actress, which was a problem for me. But after an intelligent
discussion with a fellow film reviewer who runs a little site called NinjaDixon,
he made me go back and re-watch it. So I did and going back a second time I
discovered the same kind of traits that I found in Martyrs – once again Laugier
messes around with his audience and makes us think outside the frame of convention.
This movie is all about polarizing good and evil and making us THINK about
stuff. Just like Martyrs made us questions why we watch horror, forcing us to
become antagonists and make a “martyr” out of Anna so that we can get our
answers, The Tall Man makes us think about what is wrong, bad, evil, good and
why we pigeonhole people so easily. That’s what makes it a movie I can get
behind, as this is smart filmmaking.

Scandinavian horror is on a rise. There’s some cool stuff
getting made, and when the spotlight turns to Sweden we Scandinavians
unfortunately have a tendency to frown and reject the few offerings we are
given. But this is all part of our culture and we really shouldn’t, as there’s
definitely stuff being made that is exciting and gives promise of great things
in the future. Wither is a generic horror film, it has poor acting, it has no
real surprises, but it’s an impressive movie, undoubtedly some of the best gore
scenes ever put on Swedish film, and I really enjoyed it. Sometimes a generic
slasher movie is only a generic slasher movie, and even the simplest slasher
film can be an enjoyable one if it’s done in the right way with the right
ambition. [Full review Here]

OK, so now the countdown begins... 5 to 1...

5. ERRORS OF THE HUMAN BODYErrors of the Human Body it is an awesome film, and it’s a
film I’ve thought about a lot. Which means that it left an impression on me,
despite some of the problems it has. It tells the tale of Geoff [Micheal
Eklund], a scientist going to work in Germany after tragedy has torn his family
apart. He’s a top scientist and when he starts working at Samuel Mead’s genetic
engineering facility the film shifts into dark territory when it’s revealed
that theirs is some seriously unethical experiments taking place. Part
thriller, part monster flick, part bodyhorror. The only thing that kind of
harms the film is a somewhat sappy love story that lingers on to long and some illogic
moves during the final act. But I still find it to be one of this years best
movies and I will go back to this one when it’s released officially. Oh and Rik
Mayal gives a great performance as the sinister Mead, and there’s a lot of
Axolotls in the film…

4. EXCISIONLoved it, every minute of it. Richard Bates Jr.’sExcision with it's generic coming of age story with a harrowing twist and some of the most
artistic dream sequences I’ve seen in ages. I think we all can identify with Pauline’s
[AnnaLynne McCord] struggle to fit in, we’ve all been kids in those vulnerable teenagers.
The cast are fantastic, the story is morbidly layered with darkness and haunts
which slowly is peeled off as the movie progresses. Traci Lords gives a performance
of a lifetime as the tormented mother, and the biggest balls in the room hang
from Bates Jr. who dared take the movie where he takes it in that last act. [Full review Here]

3. ABC's OF DEATH
To be completely honest it’s something of a mess as there’s
so many different styles and approaches to the subject matter – but I’m fine
with that. I like mess when its like this, because it's in the mix that the volatility of the film arises, and you can’t stick 26 different directors into one
movie and expect them to all be the same – because that would suck! Being of a
mixtape of death, the eclectic mess of TheABC’s of Death is magnificent. There’s
fun, there’s gore, there shocks, there’s frights, and there’s animation and
there’s Lee Hardcastle’s T is for Toilet! I’ve been following Hardcastle for a
few years, love his work. There’s a lot of chapters that I really enjoyed, but
if I where to pick one, I ‘d say it was Marcel Sarmiento’sD is for Dogfight,
as it brings everything to the table. In its short form it goes through so many
emotions, generates emotion for characters, has a twist and puts a smile on
your face at the end of the four minute play time.

2. NIGHTBREED : THE CABAL CUT
I’m a total spaz for work prints and alternative versions;
yes I’m one of those nerds that film companies lure too much money off as I dip
into extended versions, directors cuts and deleted scenes… So finally getting
to see Nightbreed: The Cabal Cut, after reading about a mythical lost Directors
Cut's for years, and then following the story through as footage was found - various edits on
VHS tapes found at Seraphim Films offices - was something
of a dream come true! I’ve always liked the movie, and despite its studio edited Dekker
slasher storyline, the monsters are what always drew me to it. So finally
seeing a workprintish composite of various sources was a delight as it brings
loads of new footage to the story and reclaims not only the love story of the
original source – Barker's CABAL book, but also the world of the monsters. It
flips the tables, gives them new dimension and depth and is an overall better
movie – instead of that so-so slasher that they recut the film into back in 1990.
The one fear I have for this movie is that they stick solidly to the
shooting script and don’t take time to feel the flow of the film. Sometimes
there’s a very good reason that stuff shot never makes it into the final film,
and despite being on the sencond place on this list, the movie has a few
moments that need trimming and sorting out. In no way is the Cabal Cut a final
product, it is still very much a workprint composite, and there is a lot of
work to be done with it. Just redubbing parts of the film will not be enough to
find that all important flow. Although the dedicated work of Russel Cherington
(and crew) is not to be underrated and hopefully the movie will have an
official release during 2013, and I hope to revisit again in all its glory.

1. LIVIDE
Undoubtedly the movie that scared me, engaged me and moved
me most this year was Alexandre Bustillio and Julien Maury’sLivide. A spellbinding tale of
horror and fantasy which certainly deserves this spot on my top movie 2012. This is a masterpiece and despite it
totally polarizing audiences, I’m sure that it will be rediscovered in years to
come. Have YOU spotted the smart Suspiria references yet?Many genre films lacks the originally and innovation that this film brings, and
that sadly lost on a lot of genre fans, who seem to want the same formula over
and over again. Livide is unquestionably the greatest film I saw this year,
and I urge you all to watch it as it is a superbly crafted tale unlike anything
else that came to our screens this year. [Full review Here]

Thursday, December 27, 2012

Opening with a shot that crawls up on a sweaty Hugo Stiglitz
(spelled Stieglitz in the credits) as he has a nightmarish vision, is a great way
to present the initial attack of Cemetery of Terror: Stiglitz dreams of a terrifying man-beast
brutally slaying young woman!

Stiglitz is Cardan, a Doctor convinced that his recently
deceased patient, and killer of seventeen people, Devlon [José Gómez Parcero],
has prior to dying found a way to come back from the dead and continue his
violent rampage. Obviously both Police and colleagues laugh at his absurd
theories…

Cue the bunch of clueless students destined for their Halloween party and silly
“scare the chicks” pranks up their sleeve spending the night in an “abandoned”
house. Being rejected by their girlfriends simultaneously, the lads turn their
attention to other things, such as mooching around the dark cobwebbed house. Jorge [Servando Manzetti] finds a strange book
in the attic, and Blissfully unaware of the connection between the leather
bound cover with “Devlon” embossed on the cover and Dr. Cardan’s creepy
theories, they start reading aloud from the pages of the book. The taunting of
the girls and reading of the book gives them the sick idea of stealing a corpse
from the cemetery – all as a joke to freak the chicks out of course.

After a soaking wet "reading of the pages" over the corpse in
the middle of the rainy cemetery - and a decent snog session for all parts - Devlon
arises from the dead and starts to prey on the youths. Classic tale of don't
make out in abandoned houses, or you will get snuffed… oh, and raising serial
killers from the dead is a bad thing too. Time to bring Dr. Cardan back into
the plot, as time is sparse if he’s going to catch up with his old foe, and put
him to rest for a final time!

There’s a subplot with a bunch of younger children – one of
them Tony [Eduardo Capetillo], happens to be the son of police chief Ancira
[Raúl Meraz] who’s escorting Stiglitz all over town in the search for Devlon – whilst
the children trick or treating at the cemetery! At first it just seems to be a
set up that will lead Stiglitz and Ancira to confront Devlon, and would have
worked great as a tool to convince the sceptic Police chief. But it’s not and
the children are just as annoying as you would imagine them to be, and pretty
soon, for reasons I never will understand, they become the main protagonists of
the piece.

As the children ponder the cemetery, flames burst out of a
crypt, which makes them run for their lives, right into the house where all the
youths where slaughtered earlier... So the focus shifts, the kids are the new
protagonists but at the same time we get a treat when Zombies arise in the cemetery!
There are some great moments here and the zombies look just as I would want
Mexican exploitation film zombies to look.

But that kiddies in peril last act just totally bummed the
movie for me. Up to then I was really into it, but when the children started
running from the monster it became Scooby Doo. The movie turns into something
completely different and in all honesty there’s really nothing that makes me
give a damn about the children. It’s obviously where violent death stops too
and all you have to look forward to from here on out, is kids running back and
forth screaming whilst Hugo Stiglitz takes on his nemesis and actually warding
off zombies with a large silver cross…

Despite it all Cemetery of Terror is holds a pretty good
atmosphere – yes even after the children start running from the dead. It sports
some splendid in-camera tricks, classic shock tactics, and some delightful
special effects - special effects man
Ken Diaz , does good with the low budget, coming up with some cool old school gore
and some really neat zombies, and against all odds the film manages to hammer down
a last moment shock. (Dare I speculate that this is the same Diaz who worked his way up to the top league of Hollywood makeup artists via his early work with Rob Bottin?)

There’s some creative crosscutting of Stiglitz on his way to
the morgue with the intention of having Devlon’s corpse destroyed whilst the
kids break into the morgue and… yeah you guessed it, unknowingly stealing
Devlon’s rotting body. Basic and easy, but it works effectively and helps build
some sort of tension and suspense.

The way classic horror, supernatural magic and slasher aesthetics
(subjective camera, killer stepping round corners in the background during long
shots, supernatural strength) all come together in a cheap Mexican exploitation
fajita is pretty entertaining, and at least the first three quarters of the
film are decent generic horror.

The movie also features Rene Cardona III in the cast as
Oscar. Yes, it’s the grandchild of legend René Cardona and son to equally
legendary Rene Cardona Jr. Even though he doesn’t really get much screen time
t’s great to see the third generation of Mexican Exploitation filmmakers on
screen. Only a few years after Cemeterio del terror, Cardona III was making
movies on his own merits and has enjoyed a pretty decent career. As for first
time director Ruben Galindo Jr., he followed Cemeterio del Terror with Don’t Panic
(1988) another teen oriented shocker before unleashing his seminal work the far
superior Ladrones de tumbas (Grave Robbers) 1990.

Wednesday, December 26, 2012

Taking a step away from gothic horrors and going up against
human foes instead, this secret agent themed thriller sees masked Luchador Blue Demon
racing against a band of super villains to find a deadly formula before it’s
used to wipe out the human race!

Seeking inspiration overseas – such as the James Bond movies,
or possibly the quirky “Flint” movies Luchador films – Luchador films took a
short spin into secret agent territory. Starting out with the two Santo
vehicles, Operacion 67 and El tessore del Moctezuma, Blue Demon followed with
similar movies, Destructor de espias (Destructor of Spies) and Pasaporte a la
muerte (Passport to Death). In my book, where Santo may be close to Bond or
Flint, Blue Demon is the Harry Palmer of the niche. Down to earth and to the
point – but still a charmer with the ladies, and never really holding that self-assuredness
where you know absolutely nothing will go wrong. Blue Demon, like Palmer, has
an aura of slight vulnerability to him that makes him a much more empathetic
character for me.

So it may not be top-notch spy action in the vain of James
bond, but at least they tried, and the influences are noticeable but restrained
by the obvious differences in budgets. It’s an playful take on those bigger,
better budgeted movies, but with all it’s cheap charm and naïve enthusiasm –
not forgetting that it’s primarily a movie to showcase the immensely popular Blue
Demon – these movies are still fine pieces of matinee cinema.

The main plot centres on a mystic formula, invented by
Professor Garfield [Chuck Anderson]. This formula is obviously the most lethal
poison gas in the world, and if it ends up in the wrong hands – such as the sinister
villain Hans [Jorge Rado, who later starred in several Santo & Blue Demon
films, and also Sam Peckinpha’s masterpiece The Wild Bunch 1969. And make note
that the villain is supposed to be a European!] – the world is domed to
extinction. No agent film is worth it’s name unless establishing the super
villain early on in the movie, Destructor de espias does so right from the word
go as Hans torments and executes one of the competing spies in an attempt to
gain the super peligroso formula. Put on the case to find the formula before Hans
with his doomsday plans, we find Blue Demon and Super Agent Julio [Carlos East].

A second definitive trait of the spy genre is the
presence of beautiful women! Destructor de espias has its fair share of delightful women
with the presence of Marcia [Alma Delia Fuentes] and Nora [Maura Monti] Monti
being the only real contender against Lorena Velázque, for the title of numero Uno sex symbol of Mexican exploitation. Monti was originally of Italian
origin, and enjoyed a rather fruitions career in the film industry. During the
nine years she was active, she starred in over thirty films, before her
husband asked her to leave the industry, which she did!

Another feature that I enjoyed with this entry is that
there’s two funky nightclub scenes complete with bikini clad go-go girls and
suave rock music of the era performed by bands The Rocking Stars and Los Johnny Jets. It has nothing to do with it, but I obviously
think of Jess Franco’s many smoky jazz club scenes and that’s always a
beautiful thing.

Blue Demon starred in two back-to-back productions
that mimicked the suave style of the Bond films… well at least tried. But they
are good attempts and despite only a few smaller secret weapons, there are some fun
gadget’s in the movie which show what they where after. A flamethrower ring, a "fast escape" bed and those trendy wristwatch walkie-talkies, which Blue Demon and Santo
used on every possible opportunity in later films to come.

It’s also a movie that takes our protagonists on something
of a mini global tour, as they leave Mexico and venture to Chinatown, San
Francisco where a pretty dodgy Fu-Manchu like character – who owns the
nightclub - makes his entrance. To get the most out of the San Francisco stock footage, and nightclub sets back in Mexico, the dialogue more or less works the name San Francisco in to each and every sentence using every possible minute of production value available. Oh and just wait till you see the show stopping
marionette performance that the nightclub owner has performing in his establishment!

Apart from some fairly well staged fisticuffs with Hans’s
henchmen – one fantastic punch out in a mortuary - Blue Demon also has a few
good bouts in the ring too. Personally I feel that despite being a Luchador
film, the action inside the ring takes a back seat for crime solving and
superspy busting – and a fantastic final fight that see’s Blue Demon jumping
out of a jeep, into a moving airplane to beat the crap out of sinister villain
Hans.

Although he didn’t direct the follow-up, Pasaporte a la
muerte (Passport to Death) 1968, director/screenwriter Emilio Gómez Muriel did team
up with his co-writer on Destructor de espias, Alfredo Ruanova, and this time
they took a brilliant science fiction approach to the spy material, but that’s
a completely different story and

Blue Demon, secret agents, sinister villains and hot mamacitas
– well, you cant really go wrong - which I’ll say that about any Blue Demon
movie, because I love them all! Action, fast moves, overdramatized antagonists,
wrestling and great fun all the way through. Just check out that stunning artwork on the poster above and tell me that you don't feel the urge to watch this flick! Viva Blue Demon!